Postmodernism Essay Samples

Postmodernism in architecture, as well as in art, was born from modernism. Now modernism represents what we would conceive to be the “good old days,” wherein everything was structured and planned. Strikingly, as modernism was making its appearance, thus, achieving its name, it looked like many things, but structured was not one of them. Still, because modernism was so fragmented, the post-modern era’s identity became even more unclear. In a way, it has become so convoluted, pulling from everything it can from the past and present, it represent nothing more than a desperate attempt to be different from modernism. While it is difficult to make sense of at times, it is easily recognizable in today’s world.
Architecturally, a good example of a post-modern structure is the Hyatt Regency Cambridge. As modernism gave way to post-modernism, society switched from a population of production to consumption. Moreover, we began to contrive our identity from other sources. The Hyatt, for example, is a hotel. Many hotels we see feature the typical tower, or block style architecture, while the Hyatt Regency Cambridge is shaped roughly like a pyramid of Giza. Coupled with the name, it suggests guests will be lavished with all the attention of an ancient Egyptian Pharaoh, despite the fact it is overlooking Boston.
The architectural design of the Hyatt Regency Cambridge is in alignment with postmodernism also due in part because the style is less about the localities, nationhood, or families, and more about global personhood. While the hotel itself is unlikely to encourage the world’s enemies to join hands and sing a song of peace, the structure suggests a choice only a post-modern design could bring, as it relates to the guest on a global scale, rather than a local scale. It offers the concept of globalization in the form of architecture, stating the form of the building can be whatever it wants to be. It is a hotel, and it is in a triangular. On the other hand, maybe it is a hotel modeled after the pyramids. Perhaps it is a hotel with a fragmented design that is not supposed to resemble anything particular, which is also an element of the post-modern era. Each of these options could be true, and show how far removed art and architecture had to remove itself from modernism in order to be seen as something else.
The Hyatt Regency Cambridge is confusing, fragmented, and jarring to the visual senses. In accordance with contemporary history, this is what was demanded if architecture was to break from modernism. Cubists and conceptual artists were considered modernists. Their work was already confusing and fragmented, often awakening something within the observer they were unaware of before. In an effort to break free, the Hyatt relieved itself of the traditional labels often associated with hotel architecture, resembling something more akin to a Tetris piece than a vacationing spot for couples and families. Buildings exhibiting this architecture were forced to become even more fragmented and less predictable than the insanity of the modern era in order to be seen different.
Similarly, the Renaissance Center in Detroit also exhibits many elements of the post-modern era, though for different reasons. A set of towers and small buildings distributed in a row, the center looks unfinished, representing the paralyzing fragmentation that accompanies post modernism. On a deeply profound level, this unfinished, unpolished appeal may be linked to the many historical buildings and monuments that lay preserved, but unfinished all over the world. An elements of post-modernism, of course, is to combine history with the contemporary era of today, and while the Renaissance Center is not Stone Hinge, it is puzzling as to why it looks so expensive, but so unfinished.
The Hyatt does not share the unpolished look of the Renaissance. While it is oddly shaped, giving the masses a different option in an already endless line of options, it has been manicure to perfection. The juxtaposition in finality between the two reminds us there are no absolutes in post-modernism. One remains unfinished and fragmented, while the other has been completed, and appears fragmented. Neither equation makes sense, but both achieve the intended effect, allowing occupants to have more options and to feel as though they have finally made it out of the modernism that once was so thrilling, and now has become so suffocating.
What is considered a playful use of superfluous decoration is also seen throughout both buildings, though this is a facet of style unrelated to contemporary history. The lavish lights, unnecessary towers, and other similar accoutrements mean nothing to the overall presentation of the buildings. They add to the popularly phrased “Wow factor,” and would be considered worthless in any other circumstances.
Essentially, we are slipping into a culture where image is becoming everything. From the logos on our clothes, to the shape and presentation of our hotels and various centers, we want to be wowed, impressed, and know we are enjoying the best no matter where we are or what we are doing. Image importance is a post-modernism specific trait, as we see more of it emerging in art, as well as architecture during this era. Neon Hyatt Regency Cambridge signs have never burned more brightly, ushering occupants into the scattered, non-absolute, absent recesses lying through its doors. We, as a consumer society, eat it up with a spoon, glad to be rid of the comforting presence of modernism, while simultaneously missing the uniformity it brought. The postmodern architecture of today is easily recognizable in the Hyatt Regency Cambridge, as well as the Renaissance Center, even if for different reasons, and we are forced to examine what we want out of art, and out of life, as we see neither building makes real sense in today’s world. With one resembling the pyramids of old, and the other looking unfinished, it seems we have come so far only to back track.